Museum without Walls

David Hall, A Situation Envisaged: The Rite II, 1989-90. VR simulation presented at NEoN Festival, Dundee, Scotland, 2017. VR model by Rhoda Ellis, curated by Adam Lockhart (© Estate of David Hall/Rhoda Ellis/University of Dundee).

DiMoDA 1.0 - opening at Transfer gallery, 2015.

untitled (Gilbert Chaudanne, acrylic on eucatex, 1997) - access in augmented reality

Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.

DiMoDA 1.0 poster for Superchief gallery, 2016.

Today, the ruins of houses and collective equipments that were destroyed became part of the museum's collection and of what the residents call a memory route, along which several signs were installed to evoke spaces that existed in Vila Autódromo before the evictions.

Fragmentos Rítmicos (Dionísio del Santo, oil on canvas, 1995) - access in augmented reality

Donation of pieces from the Museum of Removals' collection to the National History Museum (© Luiz Claudio Silva / Museum of Removals collection).

Perhaps the act of appropriation has an element of appreciation, but it is much more than that. Tutorship implies concern, but such response is not the only way (or the best one) to demonstrate care.